In February 2023, Society of Art Los Angeles (SALA) unveiled a site-specific exhibition in Mount Washington during the final week of Frieze LA. What began as an experimental venture in a remote, off-the-beaten-path location quickly evolved into one of the most talked-about and well-attended events of the weekend. Over 600 visitors made the trek up a dirt path, guided only by the promise of the experience, to a location shared by request only. This unexpected success has since become a pivotal case study for the future of SALA, inspiring us to pursue the creation of a permanent space that builds on the innovative concept.

The exhibition celebrated the harmonious relationship between art, architecture, and nature, blending these elements in a way that felt both organic and immersive. Set against the natural beauty of Mount Washington, the show unfolded seamlessly indoors and outdoors, with works that responded directly to the surrounding landscape. The trees, the unearthed bricks, the vines, the objects unearthed on the property, and the earth itself became a key collaborator. It was as though nature itself had a hand in curating the show, with the space evolving with the shifting light, the weather, the seasons and the movement of visitors (some wilder than others).

The house itself, which had not been lived in for over 20 years, added layers of history and memory to the exhibition. As we began to breathe new life into the space, we were met with gratitude from the neighbors, who were pleased that the property was receiving some much-needed attention. Our efforts helped stave off squatters, coyotes, and rats while also sparking recollections among some of the older residents. For them, the street had once been a sanctuary in the 1980s, particularly for gay men, many of whom were deeply affected by the AIDS crisis. These poignant memories, including the loss of ten lives on this street alone, to the epidemic, were central to the project. We made it a priority to honor the history of the house, recognizing its significance as a home and its inhabitant and his role in shaping the micro-culture of the neighborhood.

The installation was not simply an exhibition, but a living, breathing performance, where art and nature communicated in a fluid dialogue. The exhibition involved Amelia Lockwood’s ceramic sculptures and Chris Lux’s stained glass windows and lamps, which were made specifically for the house, blending harmoniously with the environment. One of the exhibition's most striking features was a room full of Lux’s stained glass lamps, including a piece that played a Schoenberg musical score, adding an unexpected layer of audible art to the experience.

Drawing inspiration from artists like JB Blunk, who famously integrated art into every facet of his surroundings, SALA sought to create an immersive experience that moved beyond traditional gallery walls.

Despite being located far from the commercial epicenter of Frieze, the exhibition garnered the attention of the art world. It offered a refreshing departure from the high-energy, crowded atmosphere of the fair, an unlikely haven where conversation flowed freely and ideas were exchanged. The space invited more questions than answers, and the conversations ensuing conversations carried a rare and authentic excitement.

The success of this exhibition has galvanized SALA’s plans to develop a permanent version of the concept. This Mount Washington installation serves as a pilot for what we envision as an ongoing, immersive space where art, nature, and architecture continue to evolve together. Our aim is to create a platform that inspires thought, fosters collaboration, and encourages art to thrive beyond traditional gallery settings.

The Mount Washington exhibition revealed the potential of a new model and one that we hope to keep using again and again—one where art, nature, and architecture converge to create a dynamic and ever-evolving environment. This is a vision we’re eager to build on, one that will continue to redefine how we experience art in relation to the world around us.

Mount Washington - Mystery Villa No. 1

In July 2024, Society of Art Los Angeles (SALA) presented an even more successful iteration of its clandestine site-specific exhibition at a deserted Mount Washington house, building on the success of its precursor, Revel Hall. The space, now completely overgrown with vines, flowers, and bursts of new plants, was the most immediately noticeable development. At one point, the wind blew part of the roof off creating a disco-ball pattern print on the walls depending on the time of day. It felt like a whole new site. The space had matured in other ways too, building on discoveries from the previous show and through SALA’s continued, regular interaction with the environment. We puttered, painted, and rearranged. The process of preparing for the exhibition was less about planning and more about listening. SALA members and the over-20 featured artists who installed their pieces around the site, saw themselves as dutiful stewards of this estate, its themes, and the ideas it inspired in them. The show, in turn, became a meditative process of working with the medium of the space itself.

Another development: SALA members built a unique salon-style bar in the center of the house from found materials within the space. The salon was a fitting addition, synonymous with SALA’s mission, and although the concept stemmed from the experimental Raffi & Al's, this iteration introduced something new: the menu included wine donated by Mount Washington neighbor and ceramicist Joshua Miller’s family vineyard. For just $10, guests received a ceramic vessel created by Miller and filled with wine—both a keepsake and a donation supporting the non-profit. Ice cream, generously donated by Nick Fisher, the owner of El Prado and Fluffy's Ice Cream, added to the casual, communal vibe of the space. The ice cream was also available for $10 in a unique ceramic cup.

The ice cream and the relaxed, open outdoor setting engaged a wide range of visitors. Elderly neighbors and children felt at home among the art crowd in this democratizing natural setting. SALA ended up raising more than expected for the non-profit, a testament to the power of community support and the resonance of the show.

With contributions from an impressive and eclectic list of over 20 non-traditional California-based fine artists with a DIY ethos—some showing their work for the first time and others already well established, such as Ruby Neri and Frances Stark, who each contributed pieces designed specifically for the space. Ruby painted a mural directly onto the wall, and Frances glued her poetry, papier-mâché style, onto the walls.

As part of the activation of Mystery Villa No. 1 which spanned 6 weeks in total, SALA hosted a music video launch for artist Mia Carucci at the SALA Mount Washington space. The evening, illuminated only by candlelight and images projected above the fireplace in the otherwise dark and vacant house on the hill.. The raw, natural setting complemented her music—wild yet intimate.

The success of this show has deepened SALA’s commitment to developing a permanent, living exhibition space in the future.